Multi-methodological piano studies

Sven Lidén

Music, bachelor's level

2021

Luleå University of Technology

Department of Social Sciences, Technology and Arts

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Abstract This thesis examines the effects of a multi-methodological approach (theory, history, practice) to piano studies. The aim was to see how a deeper and more structured study would improve my piano playing. The study process was based on two specific compositions: Fantaisie-Impromptu, op.post.66 by the Polish composer Fryderyk Chopin and Clair de Lune, from Suite bergamasque by the French composer Claude Debussy. The compositions were executed and recorded in the first part of this project before the academic year 2020/2021, once from the middle part and twice from the final part of the project, spring 2021. Four recordings were done between June 2020 and the final concert in June 2021 and are all uploaded on the same YouTube channel, Pianist Sven.

During the study of the specific subject, I created two handwritten paper posters. For achieving an increased readability of the thesis, images were uploaded on an own created website, called Chopin-vs-Debussy. I have conducted an interview with pianist and teacher, Giulio Biddau and inserted as part of the thesis (5.1.4) and of the website as well.

As a result, an improved efficiency and structure during piano practice sessions and when stud-ying theoretical aspects, has been obtained. Musically speaking, I got a better understanding of rhythm and tonality. The practical and theoretical studies carried out has helped me to create a methodological map to applicate in the future and to develop further.

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Foreword

“Multi-methodological piano studies” is the final thesis of my bachelor studies in classical piano at the Department of Arts, Communication and Education in Piteå, part of Luleå university of technology, with an Erasmus+ exchange semester at “Conservatorio Statale di Musica, Gio-vanni Pierluigi da Palestrina” in Cagliari, Sardinia, Italy.

I would like to thank my supervisor Mikael Bäckman and Per Högberg, for initial help with the thesis.

I am thankful for pianists Giulio Biddau and Helge Kjekshus that helped me with their inspira-tional guidance and musical teaching. Likewise, I would like to thank all the persons involved for making the Erasmus+ exchange in Cagliari, Italy, during the autumn semester 2020. Espe-cially, AnnaCarin Larsson, Simona Anny Lindqvist, Pio Salotto and Annie Svensson. I am also thankful for the group of students that I cooperated with during the chamber music course in Cagliari for making my examination possible before my return to Sweden.

I would also like to thank Claudio Bergamini, Daniela Corrias, Maria Lucia Costa and Ric-cardo Leone, teachers who guided me in the other subjects studied during the study exchange in Italy. Finally, I would like to thank my first piano teacher, pianist Matteo Fanni Canelles, for support since the beginning of my musical studies in my natal town Trieste, Italy, at the age of five.

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Table of contents

1. BACKGROUND.............................................................................................................................................1

2. AIM AND RESEARCH QUESTIONS.................................................................................................................2

3. THEORY.......................................................................................................................................................3

3.1 PREVIOUS RESEARCH................................................................................................................................................3

3.2 VOCUBULARY.........................................................................................................................................................3

4. METHODS....................................................................................................................................................5

4.1 DATA COLLECTION…….............................................................................................................................................5

4.2 LITERATURE AND SCORES .........................................................................................................................................5

4.3 MUSICAL AND ARTISTIC METHODS……………................................................................................................................6

4.3.1 PIANO STUDY METHODS..........................................................................................................................................6 4.3.2 APPLIANCE TO CHAMBER MUSIC.............................................................................................................................9 4.3.3 PAPER POSTERS CREATION………............................................................................................................................10 4.3.4 THE MUSICAL CLOCK..………………...........................................................................................................................11

5. IMPLEMENTATION.....................................................................................................................................12

5.1 OUTCOMES..........................................................................................................................................................12

5.1.1 THEORETICAL OUTCOMES…………………..................................................................................................................12

5.2 PERFORMATIVE OUTCOMES......................................................................................................................................................................12

5.2.1 PERFORMATIVE SOLO OUTCOMES….....................................................................................................................12

5.2.2 PERFORMATIVE CHAMBER MUSIC OUTCOMES…..................................................................................................14

5.2.3 INTERVIEW WITH GIULIO BIDDAU.........................................................................................................................14

5.2.4 MASTERCLASS OF EPIFANIO COMIS…....................................................................................................................16

6. DISCUSSIONS AND ANALYSIS.....................................................................................................................18

6.1 LITERATURE REVIEW..............................................................................................................................................18

6.1.1 WESTRUP; “THE NEW OXFORD HISTORY OF MUSIC; ROMANTICISM 1830-1890”........................................21

6.1.2 WESTRUP; “THE NEW OXFORD HISTORY OF MUSIC; THE MODERN AGE 1890-1960”................................22

6.1.3 S. PEITHMAN’S PODCAST; “THE DEBUSSY-CHOPIN CONNECTION”…....................................................24

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6.2 WEBSITE STRUCTURE.............................................................................................................................................27

6.3 DISCUSSION ABOUT THE THEORETICAL AND HISTORICAL STUDY…….……………………...........................................................29

6.4 DISCUSSION ABOUT THE PERFORMATIVE STUDY.……………………………............................................................................30

6.5 CONCLUSIONS AND FUTURE ASPECTS………………………………........................................................................................33

7. BIBLIOGRAPHY..........................................................................................................................................35

8. APPENDICES.……........................................................................................................................................37

9. TABLE OF FIGURES……................................................................................................................................39

10. MUSIC SCORES……...................................................................................................................................40

10.1 PUBLIC DOMAIN; CHOPIN’S FANTAISIE-IMPROMPTU....................................................................................................41

10.2 PUBLIC DOMAIN; DEBUSSY’S CLAIR DE LUNE..............................................................................................................52

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1. Background

A classical pianist must go through the process of establishing technically correct executions, create a well-grounded soundscape in the room, to find and present the deeper meaning un-derneath. The result of a particular way of performing a music composition is called interpreta-tion. Focusing on the first aspect only, while taking for granted the last two, is not an uncom-mon approach I have experienced during my years of studying. The relationship between stu-dent and teacher is of considerable importance as piano classes are mostly individual.

After many years of piano studies, I saw an unsolved issue; the study methods I was using were not structured enough and efficient for an optimised creative process. Due to unorganized re-hearsing, my musical expression could not emerge entirely. For being able to see some radical improvements in my piano playing, a better organized study routine and improved study methods were necessary.

This work seeks to find alternative methods which can accompany the teaching of the first years, which uses elementary rhythmic structures, which do not allow the development of ade-quate skills for higher studies. To achieve a structured study process that could give enough room for developing creative ideas different aspects of the subject were considered: theory, his-tory, and practice. Usually, the study focuses on the single problem of the piece, solving any technical difficulties exclusively within the context of the piece itself. It would be advisable, however, to be able to experiment with rhythmic techniques capable of perfecting the stu-dent’s rhythmic skills, so that they can also be used in other pieces. This is possible with the experimentation of rhythmic techniques not strictly related to the piece.

The chosen repertoire is Fantaisie-Impromptu, op.post.66, composed in 1834 by the Polish composer Fryderyk Chopin and Clair de Lune, composed between 1890-1905 by the French composer Claude Debussy. The characteristics of the Fantaisie-Impromptu that made me want to learn it was its unpredictability, rhythmical challenge (with frequent polyrhythms) and ex-pressiveness. When it comes to Debussy’s Clair de Lune, the decision fell because of its sensi-bility, calmer energy, and specious sounds. The choice to delimit the study to only two com-positions was taken to achieve a more detailed study and analysis. When comparing and dis-cussing the two composers, it is frequent to compare them based on their Etudes, as in Woori Kim (2014)’s “A comparative study of the etude genre in Chopin and Debussy: Technical Ap-plication and Pedagogical Ap. Choosing to study and, compare the Fantaisie-Impromptu with Clair de Lune is less common.

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2. Aim and research questions This report aims to present and discuss some rehearsal methods, historic and musical analyses of two compositions that were used for increasing my performative stability as a pianist. Two questions have been scrutinized:

1. “How can I strengthen the interaction between historical contextualization, theory and practice of a composition?”

2. “How can I improve my rhythmic ability in my piano playing?”

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3. Theory

Music theory and history are often presented on a generic level, regardless of instrument played. That can be positive in the beginning as it creates a general background and a knowledge base. Going further, what I have found difficult was knowing how to apply that general knowledge in my piano rehearsal. Generic patterns can be undoubtedly helpful, how-ever a more specific knowledge about the compositions is most useful for optimising the re-hearsal. Understanding about how the different ranges on the keyboard react (so-prano/alto/tenor/bass-range), is also important. Therefore, learning how to combine generic study methods with the ones specifically developed for rehearsing some specific musical figures became relevant.

In this work, piano rehearsal has been combined with theoretical and historical background re-search. It is a study of the musical theory and history of two chosen compositions and how to rehearse them. I have presented it through handwritten posters and inserted them into a web-site. Poster I is a presentation of Chopin’s and Debussy’s biographies and one composition each through common parameters. Poster II presents some basic background facts from the follow-ing four musical parameters: rhythm, tonality, harmony, and dynamics.

3.1 Previous research

During this study, I have taken part in a selection of previous, relevant works with a special focus on the two chosen composers and compositions. Descriptions about the musical era of the composers and the different compositional forms were found in Westrup, (1975a). The New Oxford History of Music Romanticism 1830-1890, Volume IX (1st edition) Oxford University Press and in Westrup, J. A. Abraham, G. Cooper, M. Hughes, A. Wellesz, E. (1975b) The New Oxford History of Music The modern age 1890-1960, Volume X (1st edition). In the first one, mostly about Fryderyk Chopin and in the second one about Claude Debussy. When researching about the Chopin’s biography, I consulted Walker, (2019). Fryderyk Chopin A life and times (1st paperback, reprint edition), Picador and Kildea, (2020) Chopin’s Piano In Search of the Instrument that Transformed Music (1st American edition). Norton & Co. Jameson’s article A stylistic analysis of the piano works of Debussy and Ravel, presents some relevant aspects about Debussy’s studies and their effects on his works. Summaries of the relevant content for this found in the literature, can be found in respective section. (Fitch, 2014a) and (Fitch, 2014b) in section 4.3.1, (Jameson, 1942), (Walker, 2019) and (Kildea, 2020) in section 6.1, (Westrup, 1975a) in section 6.1.1 and (Westrup, 1975b) in section 6.1.2.

3.2 Vocabulary

The two compositions are of different genres within the classical field, the Fantaisie, the Impromptu and the Suite.

The Fantaisie-Impromptu op.post.66 was composed in 1834 and published in 1855, despite Chopin’s instructions that none of his unpublished manuscripts should have been published. The title combines two genres: the Fantaisie and the Impromptu.

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The Fantaisie is an older genre of what became the Impromptu. It was popular already centu-ries before Chopin among composers such as Mozart or Bach. Britannica defines the newer genre as follows: “Impromptu, a 19th-cantury piano composition intended to produce the illu-sion of spontaneous improvisation. (Britannica, 2021) In keeping with this fundamental premise, there is no such form associated with the im-promptu, although ternary and rondo schemes are common. The style of the music is similar to that of other compositions of the period, with such designations as Fantaisie, Caprice, and Bagatelle. Approximately thirty years before Chopin’s 66th opus was published posthumously that the name impromptu appeared: “The name impromptu first appeared in 1822 as the title of piano pieces by the Bohemian composer Jan Hugo Voříšek and the German Heinrich Marchner. Among the best-known impromptus are those by Franz Schubert (Opuses 90 and 142) and Frédéric Chopin (Opuses 23, 36, and 51). Impromptus were also written by Ludwig van Beethoven, Robert Schumann, Franz Liszt, Gabriel Fauré, and Aleksander Scriabin.” (Britannica, 2021) Clair de Lune was composed in 1890 and published in 1905, after a solid revision. It is part of Suite bergamasque. A Suite, in music, is a group of self-contained instrumental movements of varying character, usually in the same key. (Britannica, 2021) In Suite bergamasque, however, the key does not remain the same within all movements. Instead, it begins in F major (Prélude), changes to A minor in the second movement (Menuet), then goes to Db minor (Clair de Lune) and, finally, to F# minor in the last movement (Passepied).

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4. Methods

4.1 Data collection

Data was collected from different sources. Music scores and history facts were taken from books and websites. A podcast discussing the connection between the two composers became a useful source as well. An interview with a professional pianist with whom I’ve collaborated is presented in subsection 5.2.4.

Reference to external websites has been done using two methods. First, by directly referring the digital links but also adding QR codes to the links, for an easy access regardless of digital or printed format. A complete list of the QR codes and link can be found in the eleventh chap-ter, Appendices.

Images and more detailed descriptions were collected and can be found on the website I have created, while video recordings of my musical performances are available on my YouTube Channel, “Pianist Sven” in the following link, QR code. https://www.youtube.com/channel/UC_FXqJi9qaWsPa2gdzJVgYw

Specific piano study methods can be found in the following link, QR code. https://www.chopin-vs-debussy.com/theory-study/

4.2 Literature and scores

After many years bit willing, I decided to invest in historical biography books and in qualitative editions of the repertoire to study. The value of a quality edition compared to free ones availa-ble on the web was visible and helpful for optimizing the studies. The publishing house is Ger-man, “G. Henle Verlag”, with its’ “Urtext” editions. A visual table comparing the most signifi-cant differences between “G. Henle Verlag” and free editions found on the web is presented in the following link, QR code. https://www.chopin-vs-debussy.com/editions/.

On the same page, five reasons that motivated me to invest further in these editions of sheet music are described. The two scores analysed are from following books: Zimmermann, E. & Theopold, H.-M. (2016) and Heinemann, E.-G., Lesure, F. & Theopold, H.-M. (2009).

Public domain versions of the sheet music of the two compositions can be found at the end of the thesis, chapter 10. Music scores.

When reading through the biographical books about Chopin (Kildea, 2020 & Walker, 2019), I noted that neither of the two sources had a lot written about the subject I was interested in;

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the composition Fantaisie-Impromptu op.post.66. Both authors mainly depicted two other parts of Chopin’s repertoire: his Preludes and Mazurkas. These two biographies were useful while making the biographic summary about Chopin in Poster I. Since there was a lack of de-tailed information about the specific pieces I have studied in the literature, those data have been found mainly on the web.

Apart from the two main historical books named in chapter 5.2 other literature about Debussy was not used, but historical webpages about music, as Britanica.com, and descriptive articles about the revolutionary composer’s style. Through a solid selective criticism on finding the specific information about the composition in question, Clair de Lune, I handwrote it on Poster I.

Sources that were common for both composers were used too, like Piano Masterclass on Prac-ticing Correctly, by Graham Fitch or Peithman’s podcast “The Debussy-Chopin connection”. For non-historical aspects, websites, as https://www.musical-u.com and https://www.mu-sictheoryacademy.com were consulted.

4.3 Musical and artistic methods

I have elaborated methods to solve some of the problems that were occurring during my piano studies. Potential alternative solutions to rhythmic instability and non-structured rehearsals are presented. First, based on Graham Fitch’s “Piano Masterclass on Practicing Correctly” and then on my own experience.

4.3.1 Piano study methods

Piano study methodology is a large field and differs between music genres. In the classical field, the study commonly begins from the sheet music in the score. A piano student is usually ex-pected to learn, correct the mistakes and, finally, perform the repertoire correctly during the performance before the cycle can restart. This procedure does not include moments of history, theory studies of the compositions played, which a piano student is expected to have knowledge in.

During the Erasmus+ study exchange in Italy, I was able to develop some theoretical and prac-tical methods. The main idea was to study more systematically. I used a combination of two methods that are helpful to have in mind regardless of the composition studied. A focused rhythmic and tonal study of the problematic parts and a gradual tempo increase each time the piece is played from the beginning to the end.

While the first method required a focused study to understand it on a deeper level, the second one was more about changing a habit which took me a lot of time. The two methods de-scribed are valid for a pianist’s preparation to perform a piece on stage. Sooner rather than later, all focus should go to the performance, interpretation and improving some final details while having a clear focus on the complete execution.

Some of the rehearsal techniques that I used with the piano teacher Giulio Biddau when stud-ying the Chopin’s Fantaisie-Impromptu are presented as Process 1, Process 2, Process 3, and Process 4.

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Process 1 consists of clapping the 4 vs.3 polyrhythm on a closed piano lock. In the beginning, it can be helpful to count the underparts: “1,2,3,4,1,2,3,4,1,2,3,4”. The bolt underlined num-ber should be played with both hands, each underlined number should be played with the left hand only (4), while each bolt number written in bold by the right hand alone. A short video recording when teacher Biddau presents process 1 is available in the following link, QR code. https://youtu.be/TkbNLIg7gXQ

A demonstration of the idea can be found as table X in the following link, QR code. https://www.chopin-vs-debussy.com/theory-study/.

Process 2 consists of gradually increasing the speed (tempo) compared to Process 1. Once the logic behind the polyrhythmic figure was understood, I was able to automatize the clapping. Then add the finger movements of the Fantaisie-Impromptu’s main theme to the clapping on the lock, holding the polyrhythmic figure stable.

Process 3 consists of playing the piece with both hands on the piano keyboard but skipping the polyrhythm issues by playing straight broken chords with the melody unchanged. The idea is to learn the movements of the left hand and to become aware of the harmonies of the piece, taking a break from the rhythmical study. Once the piece can be performed slowly, gradually increase the speed using a metronome. Speed should not be increased too fast, approximately from 1 up to 10 bpm’s change at the time. Set up daily goals of speed increasing, for example to reach 100bpm. Process 4 consists of playing the first theme of the piece “normally” (4vs.3 polyrhythm) but in a slow tempo, as can be seen on this short video recording, available in the following link, QR code. https://youtu.be/8sh6Q4KIoXQ

Lastly, try performing the theme without metronome and check carefully if each hands’ figure is homogeneous. I found it easier to divide the polyrhythms as shown in Table X than in Table Y, found in the article “Polyrhythm for Beginners” (chapter Complex Counting), from Easy Ear Training Ltd. / Musical U (2021). According to Table Y, instead of counting the beats up to four, all twelve beats of a 4/4 bar should be counted. To sum up, the method presented in Table X was indeed the one that made me understand the 4vs.3 patterns completely, and it’s the one I will continue to work with. More about methods is available in the following link, QR code. https://www.chopin-vs-debussy.com/theory-study/

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Once the piece to study is decided, following steps showed to be especially important:

1. Find a qualitative edition of the composition. 2. If there are recordings of the piece, listen to different performances with the score in

the hand. 3. While sight reading, rather do it a step slower than with more errors. 4. After having done a sight reading of the piece, divide the piece into equally long parts. 5. Lastly, have in mind that each of these parts are equal. Even the easiest part requires at-

tention. The main reason behind these steps being helpful is that the risk of unbalance between the parts dropped considerably. It is not uncommon for piano students, like me, to rehearse the first pages of a piece very deeply, before even having read the last pages, “a prima vista”. That can result in a lack of knowledge about the composition overall and its parts.

Afterwards, I have understood that for playing well at a solo performance the previously de-scribed methods should be used for a long period of time until approximately two weeks be-fore the date of the concert. At least two weeks before the execution, the speed, and the way of performing the composition should already have been decided. Once these goals are de-cided, with a realistic timing, the risk of a failed audition has been minimized.

Another method that I have found to be efficient for piano studies, is presented in the YouTube channel, called “Pianist Magazine”. In the video Piano Masterclass on Practicing Correctly, Part 1, Graham Fitch presents two different methods.

First, the “counting method”. Fitch presents the utility of this exercise: “This principle can be applied to absolutely anything” (0:55min) (Fitch, 2014a). Then he describes the exercise: “I am going to take one bar and one note, and I am going to stop on the note after the bar line. And I am going to count the remainder of that bar before going to the next bar” (1:03min) (Fitch, 2014a). After showing the exercise through performing a minuet of J.S. Bach and playing longer sections. Fitch also motivates the challenges of the exercise: “You will be surprised. First of all, how challenging it is, because we all are good at starting at the beginning of a phrase, or a section. But, to take an isolated bar, from the middle of a phrase and to be able to play it per-fectly (you got to be able to do it perfectly, not just attempting it) you will be surprised how that strengthens your piece” (3:33 min) (Fitch, 2014a).

Fitch then continues with another method. “This practicing tool, I call it “zic-zac” practice. What I do is to play a little bit of the right hand and then a little bit of the left hand without stopping. I play the first half bar with the right hand and then I carry on playing the second half bar with just the left hand. Of course, it can be done for whole bars as well. If you started with your right-hand, carry-on alternating “right-left, right-left”, I would suggest repeating it the other way around “left-right, left-right”. By doing this, you are deliberately interrupting the flow in one hand and continuing with the other hand” (4:26 min) (Fitch, 2014a).

The strength about learning the compositions by memory is also described. “It is a very pow-erful process for strengthening our motor control and our knowledge of a piece. If you can do that from memory, you can be pretty sure that you will know your score very deeply” (5:39min) (Fitch, 2014a).

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In part two of the masterclass video, Fitch starts with presenting a practicing tool he calls “skel-eton”. He describes the idea as follows: “It is when we take a selected component of a piece of music. For example, if I play the melody line in the right hand, together with just the bass in the left hand. For practicing, I take the chords away from the left hand. That show if I really know the base line by itself, without the reference of the chords in the middle” (0:41min) (Fitch, 2014b).

When taking the beginning of Beethoven’s Pathétique sonata as an example, Fitch presents the idea of rehearsing through playing only the notes that are on the beats. “If you think to those as columns, the main structural columns, and the others being the drapery that connects one column to the other” (3:41min) (Fitch, 2014b). He describes this as useful to be able to under-stand what notes are on the main and which are on another layers.

In a “capriccio” that Fitch performs, he decides to only play the groups that follow the main rhythmical figure, leaving the rest. What he is attending is the absolute rhythmical precision within those figures. “So that, when I feel the rhythmical figure of the main group in the body, when I put the other notes in everything slots together in a wonderful way. It feels co-ordinated and effortless” (4:58min) (Fitch, 2014b).

When describing further how to deal with rhythmical (that may include polyrhythms) issues when coordinating the two hands, Fitch comes to the following method. “Play just the notes in the left hand that coincide with the right hand” (6:17min) (Fitch, 2014b).

At the end of the masterclass, a last variation of the method is presented. As the left hand in that part of the piece starts with octaves, he suggests the following: “Keep the thumb stable and play only the base notes that coincide with the right hand. I can feel not only the rotary move-ment, but also hear that the fifth fingers are coinciding with the right hand when they need to” (6:50 min) (Fitch, 2014b).

This idea has been useful while practicing the Fantaisie-Impromptu. Playing only the notes that coincide gave me the rhythmical stability to the rehearsal of the melody in the right hand, leaving the polyrhythmic issue to be solved later. To sum up, when problems occur on one front (rhythm, coordination, etc.), it is important to know how to segregate the issue into smaller exercises to solve, focusing on the same bars with one criterion at the time. Leaving the difficult bars totally untouched is what should be avoided.

While rehearsing, following methods have resulted being most efficient: • A structured speed progression, while rehearsing with the metronome. • Deeply understand the rhythmic (and) polyrhythmic mathematical structure, before rehears-

ing it. • First clap the rhythms (and polyrhythms), then do finger movements on the closed piano

lock and finally on the keyboard • Be careful and observe if the fingers, hands, or arms get stiff/rigid. If so, interrupt the playing

and focus on relaxation before continuing. • Having a good idea about the compositional structure leads to better studying fluidity.

4.3.2 Appliance to chamber music

During classical piano studies, most of the study is done alone. As I did not have a lot of cham-ber music experience, I decided to do a chamber music course during the Erasmus+ exchange

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in Italy. There it became natural to focus on developing following skills: play my part correctly together four-handed with the other pianist and with the singers; listen to the others and adapt, be forced to play with a stable tempo (speed), insert personal interpretative adjustments only, when possible, without slowing down the tempo. We performed the first four waltzes of Brahms Liebeslieder-Walzer op.52.

What I found most difficult was to combine following six aspects: play at correct speed, having enough control of the other pianists’ part, listen to the singers, be clear without overhearing the others, holding the tempo stable even when the singers are not and be aware of modula-tions in the score.

The idea of having words for a specific rhythm that the pianist must learn on the piano can be seen as the opposite side of what singers must do. During the accompaniment course, with teacher Claudio Bergamini, it was the first time I did combine my piano playing and singing at the same time. That was a multitasking challenge on a new level. I played and sang Vaga luna che inargenti, an air by the Italian composer Bellini. Usually, while singing a melody I played the same one on the piano. In this case, the two parameters were learned independently. Here follows a short description of five key-steps in the rehearsal:

First, learn to sing and play the melody. Then continue by learning the piano part alone with-out singing until it is under control. Once the piano part is under control, learn the text and the meaning behind it, as the Italian language was old with its specific vocabulary and grammar rules. At last, improve the tempo, dynamics, articulations, and the specific process one last time before performing the composition.

Having a clearer idea of the nature of my own voice, gave me a better idea of how to use it for piano studies and chamber music. For my final concert of the bachelor program, I played Rachmaninov’s Song Fate op.21 n.1 together with a singer and managed to learn it much faster (one month) than I would have learned it before this study of the methodological pro-cesses. The key differences in my new study method of a piece to do with another musician, compared to what I was used to are: first, study the singer’s melody by myself while studying alone and learn to play the piano section while focusing on the singer’s notes to have both un-der control.

Being aware of my own and the singers’ weaknesses, made a more focused work approach possible. Instead of giving generic suggestions “play the piece once again”, I was able to shorten the time of rehearsal by giving detailed orders as “let’s play only from bar 23 to 28”. Being able to sing the melody while accompanying myself, to hold the tempo stable and have a clear communication with the other musicians have shown to be all pertinent chamber music skills worth to invest time in.

4.3.3 Paper posters creation

Creating an original presentation about the subject on paper posters was one of the most crea-tive parts of the process. Writing by hand and not being able to erase a text once it was written with the marker was the biggest difference between making a paper poster instead of a Power-Point. Another aspect that would have been lost while writing entirely digitally is one’s per-sonal calligraphy that is unique, with its’ qualities and weaknesses.

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More information about the process of paper poster creation can be found in the following link, QR code. https://chopin-vs-debussy.com/process/

4.3.4 The musical clock

A visual representation of musical theory that I have idealized and developed was called “Musi-cal clock”. The idea came when I saw that both the hours in a clock and the halftones in an octave were twelve. That lead to the creation of a formula: the intervals shown on the clock were the time divided in half. Taking the octave as an example it has been written on the 12th hour because it has a range twelve halftones, six complete tones. Finally, another section was added, that made it possible to decide what tone the interval should start on (e.g., an F) and see all the tones of each interval, starting with the tone that was taken (e.g., an F). The different stages of development and versions of the musical clock have been uploaded in the following link, QR code. https://chopin-vs-debussy.com/music-clock/

Before the final version of the “musical clock” was created, I did several attempts of possible schemes of musical theory. One of them can be found at the bottom of the same page and was named “Planets as musical notes”.

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5. Implementation

5.1 Outcomes

This thesis process’s aim was to present piano rehearsal methods and to discuss the effects of a theoretic-historical background study of compositions on my performative stability at the in-strument.

The outcomes have been divided in three kinds: theoretical, performative (solo) and performa-tive (chamber music).

5.1.1 Theoretical Outcomes

The main theoretical outcome is an increased knowledge about Chopin and Debussy, their historical period and improved study techniques. Overall, a better awareness about how theory aspects can be used in my practical rehearsal.

• A development to a better theoretical understanding of the rhythms and polyrhythms found in the two compositions. In Chopin’s Fantaisie-Impromptu 4vs.3 and 2vs.3, while in Debussy’s Clair de Lune switching between triplets and duplets holding the tempo stable.

• Presentation of the 4vs.3 polyrhythm, as table X and table Y. • For being able to compare Chopin with Debussy and their two compositions, I had to

do a deep study of each part before.

Some functional theoretical outcomes were achieved as well.

• The website, that can be found in the following link, QR code. https://www.chopin-vs-debussy.com

• Videos on the YouTube Chanell “Pianist Sven”, that can be found in the following link, QR code. https://www.youtube.com/channel/UC_FXqJi9qaWsPa2gdzJVgYw

The theoretical background knowledge is necessary for being able to perform the compositions correctly.

5.2 Performative outcomes

The performative outcomes descriptions have been divided in two kinds: solo and chamber music.

5.2.1 Performative solo outcomes

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In this section a sequence of five solo performance recordings is presented. Two from the first part of this project before the academic year 2020/2021, one from the middle part and two from the final part of the project, spring 2021.

Having understood the theoretical ideas on a deeper level, as described in subsection 5.1.1, was beneficial and resulted in an increased stability in the playing. I have become better at holding the tempo stable, after practicing more constantly with the metronome. Both when playing at low volume (piano) or playing hard (forte), I have better control and can achieve better clarity in my performances.

Being able to balance the volume of the melody and the bass has been important for improving the clarity of the melody in the piece. The recording of my own performance of the Fantaisie-Impromptu, in Piteå, Sweden, before the planned study and exchange can be found in the following link, QR code. https://youtu.be/1GgBTjegunM

The recording of my own performance of Clair de Lune, in Piteå, before the planned study and exchange can be found in the following link, QR code. https://youtu.be/3ndrAqh0OqU

My final performance of the exchange in Cagliari, after half of the time was over, in January 2021, can be seen on the video recording in the following link, QR code: https://youtu.be/45AIJdE6E8Y

Recordings that involve my performances of the Fantaisie-Impromptu and Clair de Lune, made in Piteå, in May 2021, after returning from the exchange. It can be seen and compared to the previous versions in the following links, QR codes: https://youtu.be/RJqOIj_U_GE

https://youtu.be/c1lQ8kVxDW8

Generally, a calmer attitude increased my ability to concentrate and, by means of decreasing the stress in the muscles of arms, hands and fingers resulted in a more relaxed and natural

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playing position. Being able to relax is important for a pianist to be able to play technically de-manding compositions without resulting in physical pain. I believe that, as singers work to-wards a natural opening, relaxing their instrument (voice), we pianists should work towards a similar natural opening and being able to relax when in contact with our instrument. Having a clear idea about what kind of composition and which technically demanding sections we are about to start playing is also necessary. Once on stage, I have felt all the missing details to emerge clearly. Looking at the videos afterwards, I was able to analyse my playing.

As can be seen on my website section about the Urtext edition, the differences between scores can be remarkable. Afterwards, I can confirm that investing in those books was of great im-portance. Having the books in my hand made it possible for me to perform at a concert with-out having to worry about the scores. Book the hall for last rehearsal days before the concert, having a technician helping with the technical preparations, finding a tuner to tune the instru-ment the day before the event are all non-musical aspects that made it possible for me to be able to focus on the music. For the next time an announcer should also be found, as presenting the program by myself took focus from the playing.

Finally, during the Final concert an increased concentration, compared to previous concerts was achieved. Having decided the concert program in time and not changing its content also gave me a better control over the situation. Organizing the event and dealing with non-musi-cal problems take more time than we might expect and, therefore, the musical preparation shall be done in advance.

5.2.2 Performative chamber music outcomes

During the Erasmus+ exchange in Cagliari, I had a meaningful first experience of piano ac-companiment with a vocal ensemble. My listening ability while playing fourhanded or cham-ber music was challenged and, therefore, had to improve. A deeper understanding of which difficulties singers must deal with and how these can be found in the piano scores, made a more cantabile, singable solo playing possible. My flexibility of tempo changes within longer compositions did increase. While playing with other musicians it became a precondition to have my soloist issues cleared out, otherwise failure while playing together was inevitable.

When playing, I now give dynamics (as crescendo, decrescendo but also subito piano, forte pi-ano, forzato or sforzato) and articulation (like legato, staccato, portato, marcato, leggero or pe-sante) changes more attention than before. However, there is still a lot of margins for improve-ment, when it comes to playing chamber music, for example, by experiencing to play in a larger instrumental ensemble, a chorus, or an orchestra. Having played the four first parts (Rede, Mädchen, allzu liebes; Am Gesteine rauscht die Flut; O die Frauen and Wie des Abends schöne Röte) of Brahms Liebeslieder-Walzer op.52 has been a very precious experi-ence. That was my first recording of a performance playing four handed with a group of sing-ers.

5.2.3 Interview with Giulio Biddau

Once back in Sweden, I asked teacher Giulio Biddau, from the Conservatory of Cagliari, if he would like to participate in an interview. After a positive answer from him, an online inter-view was done on 18th of April 2021.

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Even if we both speak Italian fluently, I made the interview in English to avoid a translation process as it was already meant to become a part of this thesis. Generally, during the interview, teacher Biddau discussed the experience we had together during the exchange from his point of view.

In the first part, Giulio described our first meeting, the general outcomes of the exchange and my final examinational concert in Italy. The key subject of the interview regarded my devel-opment during our cooperation at the exchange. He remembered our first meeting as very in-teresting. He felt to have met a “gifted guy, very free and quite artistic” and saw that it was important to focus on the rhythmical issues as it seemed that I had not focused on them a lot before then.

In the mid part, I asked him to name which aspects he valuated most important while studying piano. Biddau pointed out four aspects. First, “Polyphony; the ability to follow different voices”, then “Listening; the ability to divide the voicings based on the different layers of the harmony”. He also indicated that we pianists are not forced and therefore trained to listen as much as other musicians. Another preparation that Giulio described is “Playing without stiff-ness”; the ability to have control of the technical aspects of the playing, such as levelling the hands, arms weight, and fingers touch. Lastly, “Some virtuoso abilities”; the ability to play smooth, fast, personal, etc.; all combined.

I asked Giulio for an opinion about my posters. He stated that he saw my own expression in those and appreciated them. “The theoretical part done with the collage was well done”, he continued, “and the presentation of them in front of the jury as well”. While discussing the rhythmical issue that has been solved, partly through clapping and partly through analysis, he emphasizes the importance of connecting the rhythm to the body. “When you listen to music, even as a non-musician, what happens? You start moving in tempo”, he described, “therefore if the there is an unsolved rhythmical issue, it is more efficient to return to understand the body feeling”. After this exchange and study process, learning the rhythms through imitation, instead of (over)analysing the notation, has resulted to be surprisingly more efficient for me as well. Hav-ing often overthought in how small or large sections I should study the piece and grounding my division following the bars, I asked Giulio’s opinion about how a piece should be divided for more detailed study. “First you follow the phrasing and then with the sections”, he an-swered. “It is important to analyse the composition, having a clear idea about where one sec-tion ends and the next begins”. Talking about the issues of the polyrhythms, I asked Giulio about the use of the method he presented to me about connecting the rhythms of Clair de Lune to words, called “Roma”, and “Napoli”. More about that has been uploaded on the third part of the page “Theory” and available through following link, QR code. Theory https://www.chopin-vs-debussy.com/theory-study/

“All these methods can be applied to any kind of composition, but this was the first time for you were spending time with it. Now, that you have learned the idea behind the polyrhythmic figures in these compositions (Fantaisie-Impromptu and Clair de Lune), you will be able to

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relate to them when they will come in another repertoire”. He pointed out the importance of having a relation with the rhythmical figures, from actual practical experiences and not just theoretical studies. In the last part of the interview, I asked Biddau if he did see progress in my playing during the exchange. On the question about my progress during the exchange, he described it as great. “At the final exam in Cagliari”, Giulio remarked, “all my collages that also had been teaching you in the other subjects during the exchange were also impressed by the progress you man-aged to achieve during the five-months long exchange”. The main difficulty that had to be solved during the exchange were my rhythmical issues, particularly the polyrhythms of the Fantaisie-Impromptu and Clair de Lune. Therefore, I asked Giulio if he believed if I did man-age to solve the rhythmical insecurity. “Yes”, he replied, “I totally believe that the polyrhyth-mic issues that were your main problem in the pieces has been solved”. It was intriguing to make this interview. I was not expecting such a well-developed dialog and discussion, as the idea of making this interview came quite late. Lastly, sometimes things work out the best, when done spontaneously without too much plan-ning. I am thankful to Giulio Biddau for his guidance during the exchange and participation at this interview.

A more detailed description of the interview published on the section Giulio Biddau’s vision through following link, QR code. https://chopin-vs-debussy.com/g-biddaus-vision/

5.2.4 Masterclass with Epifanio Comis

The Italian pianist Epifanio Comis did hold a masterclass in piano as part of the Ljubljana festi-val 2021. During the attendance as a passive participant at a masterclass, I was able to analyse which issues were most common between other piano students. Quite often, Comis did point out the presence of too much sustain pedal in the performances of the students. Too many har-monies were put together and the clarity of the sound was challenged.

Some students were not able to hold the tempo stable within the longer phrases. The idea, for example, that the tempo should be decreased when playing softer is only relevant when specif-ically asked by the composer. Playing at low volume (piano) seems more difficult generally than playing “forte”. Fortissimo can be an exception. Playing clear while playing everything hard is easier and should be used as a method to a certain moment when the rehearsing is re-turned to the marked dynamics.

While singing a soloist singer can just sing one tone at the time, in a chorus there are different voices with one being the melody that should emerge. That should be the goal for a pianist as well; be able to make the melody emerge, while preserving the accompaniment quiet but clear. This can be especially challenging when the two voices are played with the same hand. Comis pointed out that it can also be useful to think of the piano as an orchestra. Flutes at the top, string, trumpet, cellos, bass…different instruments, different range, different touch.

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Another aspect that may be easily forgotten is to use as little sustain pedal as possible. It is our little friend, if used a little, but a big enemy (creating an overlapping of sounds that the ear can-not distinguish) if used just a bit too much. The double repetition (the action has extra parts, to allow you to repeat a note faster, and without releasing the key all the way as in an upright) is a very useful characteristic, that should typically be used when playing fast. That is something that I could not directly connect in neither of the two compositions, due to the lack of longer note repetitions. However, the resonance between octaves (in Clair de Lune) is something I got better control of. Playing the fast notes without a total control is also problematic. Even if the tempo is high, the notes shall be played with a certain weight to achieve clarity.

My experience of this masterclass attendance in relation to the thesis is that it confirmed the importance of rhythmic study (holding the tempo) and that while playing one should work to-wards following goal: achieve an overall clarity of sound. That includes separating the different voices, being able to play legato without creating chaos and maintain a strong musical direc-tion.

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6. Discussion and analysis

6.1 Literature review

While searching facts about these two specific compositions, few descriptions in music history books were found. I started with the books, thinking that the information provided would be more reliable compared to the websites. At last, however, a combination of books, websites and podcasts resulted to be the best.

Firstly, I will present some parts from Jameson E. R.’s article “A stylistic analysis of the piano works of Debussy and Ravel” (1942). Debussy’s harmonic sensible style is clearly present in Clair de Lune, which contributes to the integration of the composition’s different parts. Jame-son describes that already Debussy’s first teacher identified the students’ musical sensibility.

It was Albert Lavignac, his (Claude Debussy’s) professor of solfege, who found that he possessed a remarkable degree of musical sensibility, combined with a taste for unusual chords, complex rhythms, and unexpected progressions of subtle harmonies. (Jameson, 1942, p.14)

Having a teacher that sees one’s potential can be the turning point for a student. I strongly be-lieve that, without the theoretical guidance of Lavignac, Debussy’s ability to put the creative ideas into sheets could have been on a lower level. In Clair de Lune, I do not find Debussy’s harmonies that unusual, rather that the transitions between them create very smooth harmoni-cal progressions. Even if there are no bars with complete silence (pauses in both hands only oc-curs at the last beat of the piece), a certain degree of emptiness can be felt between the very long-lasting chords. Those long-lasting chords (e.g in bar 25-6) increase the feeling of expecta-tion by contrasting the faster broken chords movement that’s coming next. Going further to a more specific description of the composition Jameson identifies Clair de Lune as a turning point for the French composer’s style.

Clair de Lune was considered to be representative of the transition pe-riod of Debussy's life from a stage of relative insipidity to one of indis-putable originality. This composition shows definite premonitions of his later style and is the autotype of an atmospheric presentation of an as-pect of nature, in which Debussy shone during the years of his maturity. (Jameson, 1942, p.14)

While Debussy’s rhythmic figures in Clair de Lune overwhelmed by the long-lasting harmo-nies, in Chopin’s Fantaisie-Impromptu the rhythmical flexibility is based on the melodical phrases. IvyPanda (2019) describes the rhythmical figure as follows:

Chopin’s Fantaisie-Impromptu for piano represents a curious piece of music from the point of view of its rhythmical scheme. The basic time signature of the composition is simple quadruple, but it is almost lev-elled by the intricate polyrhythmic pattern: the right hand of the pianists plays passages in four 16th notes per beat, and the left hand of the pia-nist performs triads of eighth notes per beat at the same time. (IvyPanda, 2019)

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The 4 vs. 3 pattern becomes an 8 vs. 6 pattern when played in the 2/2-time signature. When learning the rhythmical scheme, I often played the triplet faster than I should have. The differ-ence between a triplet (1/3, 33%) and a sixteenth note (1/16th, 25%) is of only 8%. For in-stance, a triplet (1/3, 33%) and an eighth note (1/8th, 50%) is of 17%!

After the technical description about the rhythmical characteristics of the Fantaisie-Impromptu, IvyPanda (2019) discusses the effects of this characteristics.

This creates an original effect of continuous and quite irregular move-ment. Rhythmic organization also helps to divide the form of the piece: the polyrhythmic pattern of four 16th against eighth-note triads gives place to another polyrhythmic pattern of two 8ths against eight-note tri-ads in the middle section of Fantaisie-Impromptu. (IvyPanda, 2019)

The author then moves on describing to the middle part of the composition, in d flat minor.

It is hard to talk about the melody in the two parts of Fantaisie-Im-promptu located around the middle. In fact, the real melody appears only in the middle part, featuring a melodic line of a wide range and both conjunct and disjunct movement. The large leaps in melody in-crease the expressiveness of the piece by enlarging the melodic range to almost two octaves. (IvyPanda, 2019)

Being able to make the melody line emerge in the Fantaisie-Impromptu, without losing its character can be challenging while having to deal with the accompaniment and its voices.

Emphasizing the romantic nature of the piece (Fantaisie-Impromptu), the melody of the middle part is rich with various embellishments like trills and ornamentation. Contrasted to this obvious melody in the mid-dle section of Fantaisie-Impromptu, the outer sections represent a con-stant movement of sounds without a definite melodic line. However, even in this sound entity, there emerge certain melodic impulses, allow-ing to link sounds together in an audible melodic line. (IvyPanda, 2019)

In contrast to the main theme, the middle part is less complicate. The tempo is slower, giving more time to the performer to achieve longer lasting and more rounded tones. While playing the middle part of the piece, I can give more attention to the creation of a pleasant sound. The change from the 2/2 to the 4/4 metre implicates a certain increased stability. Even if a poly-rhythmic figure is still present, the new metre allows twice as many accents per bar. With that said, as the 4/4 metre part is played in a slower tempo, the time difference between the accents remains nearly unchanged. I found the polyrhythmical figures more difficult to play in slower tempos (speeds), as the room for mistakes had increased.

The texture of Chopin’s Fantaisie-Impromptu is obviously homophonic in the middle part where a definite melodic line is accompanied by fig-urations in the bass. On the contrary, the texture in the outer parts does not possess an outstanding melodic line. The texture there is quite thick due to the figuration in the parties of both the right and the left hand of the pianist. However, since the material played by the right hand

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prevails in the hearing perception of the listener, it can be assumed that in the outer parts the texture is homophonic as well. (IvyPanda, 2019)

At last, the author describes the two outer sections of the composition. After having played the composition for a while, I became more aware of what were the melodic tones and how to make them emerge. Variation can be achieved in one of these different ways: playing the me-lodic tones louder, keeping the melodic tones the same but lower the volume of the rest of the notes substantially or keeping every melodic tone slightly longer and the rest slightly shorter.

In the two outer sections of his Fantaisie-Impromptu, the composer conceals the melody in the streaming passages of sixteenth notes and only rarely lets the audience trace intonations that resemble a melodic line. Such veiling of the melody in the outer parts makes its appearance in the middle section ever significant. (IvyPanda, 2019)

The middle section that is described, has been more difficult to learn than expected. Its rounded character became misleading and took over the strict rhythmical structure (2vs.3) un-derneath can be. I had to relearn it, with major focus on the rhythm, and become sure the two hands were even without letting the duplets becoming a punctured rhythm figure. Next time that I will have to play a 2vs.3 rhythmic figure, it will be easier to overcome, because I will have this example to look back at and compare it to.

The author discussed Debussy’s harmonical style, the importance of his teacher Lavignac, the role of Clair de Lune in Debussy’s career, the special rhythmical and melodical structure found in Chopin’s Fantaisie-Impromptu and its’ textural characteristics. I believe that, when perform-ing, combining all these aspects (texture, melodic line, accompaniment, voicing etc.) should be done having the personal meaning of the composition always in mind. Forgetting the reason behind the choice of learning and performing a composition can result in an almost anony-mous performance.

The importance changing surroundings sometimes as Chopin did, is described in the following paragraph from A. Walker’s biography:

Of greater psychological interest is the turning point that Stuttgart rep-resented for Chopin. One fragment from his Stuttgart Diary, September 1831, commands attention: “I am... only able to pour out my grief at the piano”. Whether he was conscious of some deeper purpose guiding him in the moment, we cannot know. But those words were rich in prophecy. (Walker, 2019, p.211)

I suppose that Chopin’s quote from his Stuttgart Diary informs the reader of two main aspects about the polish composer: his unhappy mood and the strength of his attachment to the piano instrument. Despite his reactionary viewpoint, Rubinstein was perceptive about Chopin’s contribution to the evolution of modern pianism:

Whether the spirit of this instrument breathed upon him or he upon it- how he wrote for it, I do not know, but only an entire blending one with the other could call such compositions to life. Tragic, romantic,

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lyric, heroic, dramatic, fantastic, soulfully sweet, dreamy, brilliant, grand, simple- all possible expressions are found in his compositions and are all sung by him upon this instrument in perfect beauty. (Kildea, 2020, p.146)

6.1.1 Westrup “The New Oxford History of Music, Romanticism 1830-1890”

In Chopin’s compositions, the piano characteristics as an instrument are very much incorpo-rated. Most of Chopin’s music was written for piano and fits in the “triad of near contempo-rary masters of piano composers”, as Westrup names it. “The triad of near contemporary mas-ters of piano composers was completed by Frédéric (originally Fryderyk) Chopin (1810-49). He has a reputation as one of the greatest melodists of Romantic piano music.” (Westrup, 1975a, p.250)

Besides of Chopin, the named “triad of near contemporary composers” refers to Franz Liszt and Robert Schumann. As time changes, the style changes as well. Even if Chopin had the pi-ano as a central instrument of his repertoire, he did not compose many sonatas. Sonatas are known to be mostly soloistic works and the piano a very soloistic instrument. I believe that the reason can be that Chopin may not have felt enthusiastic to follow a structure and length re-quired for the piece to be called a sonata.

Chopin’s (and Schumann’s) sonatas occupy nothing like the central po-sition in his piano music that, for instance, Beethoven’s occupy in his. (Westrup, 1975a, p.252)

One of the differences between a sonata and a suite is that in a suite, every part is named with a title, while in the sonata with a tempo. The titles are usually descriptive and can refer to dances, as minuet or, in Clair de Lune’s case to the natural event of moonlight.

The late Romantic suite is a multi-movement work with internal differ-entiation of movement types which could be extracted from Baroque, Classical, or modern models. Within certain limitations, which them-selves changed through these years, the genre offered relative freedom to composers and manifested a large degree of diversity. (Westrup, 1975a, p.561)

Westrup also describes the role of the suite in Debussy’s early period.

The suite, particularly the programmatic variety, played a highly im-portant role in Debussy’s early period- perhaps partly as a result of his teacher Guiraud’s interest in the genre. (Westrup, 1975a, p.572)

While playing Clair de Lune, I perceive it as a complete piece itself, even if it is part of this bigger work, because of its main theme’s strong character, having as many as six tempo changes that creates an internal segregation within it. Further describtions about Debussy can be found on the following section, 6.1.2 Westrup, “The New Oxford History of Music, The modern age 1890-1960”.

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6.1.2 Westrup, “The New Oxford History of Music, The modern age 1890-1960”

There are some relevant descriptions in the second book, The New Oxford History of Music “The modern age 1890-1960”, as well. Firstly, the movement towards less functional harmony that inspired Debussy is described.

Throughout the second half of the nineteenth century functional har-mony was being weakened, through its melodic surface, by modal influ-ences from folksong, as in Russia, and plainsong as in France, to say nothing of pentatonic influences from the music of the Far East such as that which impressed Claude Debussy (1862-1918) at the Paris Exposi-tion Universelle in 188. (Westrup, 1975b, p.88)

Secondly, the new movement is described as a “denial of romanticism”, eroded on the diatonic side and with intensified chromaticism.

The fabric of classical harmony was thus being gently eroded on the dia-tonic side at the same time that it was disintegrating under the more vi-olent strains of constantly intensified chromaticism. And it was the gen-tler process that was more revolutionary, for while it originated as a symptom of romanticism it was by its very nature a denial of romanti-cism. (Westrup, 1975b, p.90)

Debussy’s music, as Clair de Lune, is often presented descriptive titles. The soundscapes that are being created are normally freer and have become inspirations for visual interpretations as well. “It is natural to attribute Debussy’s exploitation of sonority for its own sake to the influ-ence of current aesthetic ideas…” (Westrup, 1975b, p.90, 91) Achieving simplicity seems to have been the goal for Debussy as a composer. A difference within listeners of a concert is set between the ones with a trained ear and the ones who does not have it. As it may be an advantage to have the trained ear, Debussy’s idea seems to deliver an equal experience regardless of how the audiences background, as the music itself is non-to-nality based.

Rimbaud’s Alchimie du verbe (1873) had opened the door to the Sym-bolists and their poetry of subtly suggestive non-sense, a play of sounds and images and rhythms that should act on the reader as music acts on the listener. Similarly, Debussy rejected those musical procedures in which the intelligence intervenes at the expense of simple percep-tion…(Westrup, 1975b, p.90,91)

The sense of tonal gravity is one aspect trained listeners can perceive. However, in Debussy’s early composition it is absent, and it becomes neutral for perception.

Not only is his harmony in quite early compositions “weightless”, with-out sense of tonal gravity, but even his melody floats…it is impossible to deny a close affinity with what was, a little later, to become known as art nouveau. (Westrup, 1975b, p.92)

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The expression, during the romantic period, was of primary importance. The development from the Classical style was about developing the dynamical and harmonical range to achieve as pleasant sounds as possible, still with a clear structure underneath.

Highly romantic conceptions are reduced to nullity by extremely anti-romantic musical devices. Romantic symptoms- pictorial and literary affinities- are neutralized by non-expressive music in Debussy also… (Westrup, 1975b, p.94)

With Debussy, both the concepts and structure changes. It is no longer a presentation of all the beautiful sounds a piano can produce, rather a study of what all different kinds of sounds can be created from a piano; beautiful and traditionally correct or not, does not matter. What mat-ters is the kind of soundscape the notes and chords create when set up together.

It was not only French composers and foreign musicians living in Paris who were infected by Debussy and- during this period to a much lesser degree- by Ravel. Composers in other lands began to come under the spell of the new techniques. But Debussy’s influences followed his repu-tation at a distance of five or six years… (Westrup, 1975b, p.114)

Debussy’s large influence comes not without a reason. Composers and artist were, most proba-bly, tired of the romanticistic style and things were changing.

However, the new impressionistic style was freer, and freedom can cause trouble if there is no clear vision underneath. “In the second half of the century, the suite was a genre much culti-vated by composers; indeed, the level of production is comparable with that of the sym-phony.” (Westrup, 1975, p.560)

Compared to the Sonata, the suite may sound less familiar. It originated in the late 14th cen-tury as a pairing of dance tunes and grew in scope to comprise up to five dances, sometimes with a prelude, by the early 17th century. The connection between dance and music composi-tion may be easier to see in the Baroque suite forms of J.S. Bach, as there were no specific titles for movements as Clair de Lune.

It is interesting how Clair de Lune, technically, is written under the rule of a dance as a minuet or a valse. When playing Clair de Lune, I never thought it as a dance, rather as a painting. However, with its vertical movements, changing tempo and a triplet beat feeling, I am now able to identify its’ dance character underneath.

The late Romantic suite is a multimovement work with internal differ-entiation of movement types which could be extracted from Baroque, Classical, or modern models. Within certain limitations, which them-selves changed through these years, the genre offered relative freedom to composers and manifested a large degree of diversity. (Westrup, 1975b, p.561)

The “relative freedom to composers” is quite clear in Clair de Lune. The main themes come and go with some small variations that hold the interest alive. The connection between the part is quite “raw”: when one theme ends the next comes with no introduction to it. That is possible as the key remains unchanged for a long time (d-flat min) then changes in the mid part

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(c-sharp minor) and comes back to the (D-flat major). It is one of the smallest, if not the small-est, of modulations a piece can have: the relative major. Compared to a variation between a tonic (I) and a dominant (V), I believe, it can be classified as almost non-existent as a variation.

As in the Baroque period the primary performing resources for the late Roman-tic suite were orchestra (Lachner, raff, Saint-Saens, Masent, Tchaikovsky, De-bussy) or keyboard- now, of course, piano (Rubinstein, Raff, d’Albert, Debussy). (Westrup, 1975b, p.561)

As time changes, so does terminology. According to Westrup, “The idea that the term “suite” is synonymous with “collection” has to be considered and modified”, when talking about De-bussy. (Westrup, 1975b, p.561) Finally, Debussy’s Suite Bergamasque should not be confused with his suite for orchestra (Petite Suite).

On the website I have inserted a comparative presentation between Chopin vs Debussy and Fantaisie-Impromptu vs Clair de Lune. In the following chapter follows some background facts about that kind of studies, called comparative musicology. The Comparison is available in the following link, QR code. https://www.chopin-vs-debussy.com/compositions-compared/

6.1.3 Stephen Peithman´s podcast; The Debussy-Chopin connection

My research on the subject was also done through listening to S. Peithman´s podcast produced by Capital Public Radio: The Debussy-Chopin connection. The podcast about the two com-posers is approximately one hour long and can be found on https://www.capradio.org and consists of two parts. Link to the Podcast. https://www.capradio.org/classical/connec-tions/2015/02/21/connections-022115/.

In the first part, Chopin’s influence on Debussy’s development of his individual style is dis-cussed. Peithman’s introduction to the two composer’s relation is presented as follows:

“Claude Debussy had a deep love to a composer who half a century before had blessed a new path with his utterly individual style and keyboard sound. “Chopin is the greatest of all”, De-bussy said, “for the piano alone he discovered everything.” (Peithman, 2018)

Peithman continues describing the first connection Debussy had, as a child, to Chopin as fol-lows.

Chopin came to Debussy at an early age. His first two piano teachers introduced him to Chopin’s styles and technique and in 1874, after eight months at the conservatory, the twelve-year-old Debussy won an hon-ourable mention at a competition with his performance of Chopin’s sec-ond Concerto in f minor. The next year he gave an even better perfor-mance of Chopin’s Ballade in F major and was described as “a prodigy that promises to be a virtuoso”. (Peithman, 2018)

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The importance of the first piano teacher of a child is enlightened. If Debussy hadn’t had those two teachers who introduced him to Chopin at the early age and helped him to be accepted to the conservatory, he may have had a totally different career.

A cooperation can be productive and constructive with the right persons, as damaging and de-structive with the wrong tutor/environment. Some persons are more affected by surroundings changes than others. In my case, it had strong effects on my motivational level during my years of piano study.

Petihman describes Debussy’s admiration of Chopin’s melodies, harmony, and the belief that the content or subject should of a composition should determinate its structure. I find that in-teresting because, I believe, that while compose it may be more common to start the other way around: having a structure in mind (e.g., sonata, prelude) and develop an idea from that.

Chopin’s and Debussy’s process of learning would not have been possible if some of those im-portant aspects were missed. Without the same training process, their progress and career as musicians and composers may have resulted totally different. After the first quarter is over, the podcast continues further describing the connection between the two composers, during the later years when Debussy had grown up.

According to Peithman, “Debussy wasn’t interested in reworking Chopin; he was developing his own style and a very different sense of harmony. It was Chopin’s intense expressiveness and his ability to compose in terms of piano’s particular tonal qualities that inspired Debussy. Un-like Chopin, he worked to make his music evoke a visual response.” (Peithman, 2018)

The two composers did choose different strategies for naming their works. Chopin a more technically, Debussy artistically.

While Chopin was intent to name his works Etudes or Waltzes or Noc-turnes, most of Debussy’s mature works carry descriptive titles that ex-press their content and purpose. His most famous piano piece reflects his intimate knowledge of Chopin, another master of short works that are often written with emotion, but his title makes it clear that we are about to visualize a quiet landscape characterized by Moonlight; (Debussy’s Suite bergamasque III.mov. Clair de Lune of 1890). (Peithman, 2018)

I have found that descriptive titles and short, emotive works are more commonly used among composers nowadays than before. With the huge repertoire available, the title of a work is of greater importance.

While it is true that Debussy does things harmonically that Chopin wouldn’t have even imagined, Chopin’s ability to suggest a specific mood was very much in Debussy’s thought pattern. For Clair de Lune it is very much in the style of Chopin’s opening of his Nocturne n.2, in Db major. (Peithman, 2018)

I can hear a substantial similarity in the quarter triplet based parallel movements of Clair de Lune. Another similarity I noticed while listening to Chopin’s Nocturne was the sudden faster movements created using small note values (as 1/32nds or 1/64ths notes).

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“In a moment, Debussy struggles to find his own voice and added his discovery of his new style from other countries, moving away from the sound of Chopin to explore harmonies and effects that the earlier composer would have found strange, indeed.” (Peithman, 2018)

The idea that Chopin would have found the new harmonies of Debussy strange is a sign of how strict and traditionalist the society between composers can be. As creative and artistic mu-sic is, a waste theoretical background knowledge is required for being able to put the ideas into original well-structured compositions.

In part two of the podcast, Debussy’s movement towards new sounds is discussed. There are quotes taken from Victor Lederer’s book Debussy: The Quiet Revolutionary (2007). Peithman observes how “by 1903, Debussy was blending East-Asian and Spanish influences, developing a new sound that musicologist Victor Lederer calls ‘a revolution as great as that brought by the predecessor and idol Chopin’.” (Lederer, 2007) (Peithman, 2018) Peithman further argues that “it is Debussy’s goal painting pictures and sound that sets apart from the earlier composer and in Granada he counters up chords that wonderfully mimic the sound of a Spanish guitar.” (2018)

One of the closest connected events the two composers had to each other, did occur a few years before Debussy’s death.

Chopin was a great melodist, he had the gift of train that memorable tunes that stick in the mind, in fact, many of his works has been mind for popular songs. In 1914, four years before his death, Debussy under-took the editing of Chopin’s works for publication in France. The ex-perience was further deepening his reverence for the earlier composer. Debussy remerging in Chopin’s music, which he already knew well and understood as profoundly as anyone, desalted him with his power and beauty once again. As first activity he composed his own set of twelve etudes in a matter of weeks and dedicated them to Chopin’s memory. (Lederer, 2007)

Dedicating a composition to someone is not uncommon. The idea behind a dedication may be a way for the artist to feel separated from the product and more easily accept it as it is, focusing on new projects.

Victor Lederer writes: “Chopin did not live long enough to hear any of Debussy’s piano mu-sic, but he was a Revolutionary of his time and somehow, I think he would have appreciated what Debussy was trying to accomplish. Certainly, he would have recognised the connection between them. A connection, that Debussy acknowledged and celebrated.” (Lederer, 2007)

As described in the last quote of the podcast about Chopin and Debussy, it is necessary to be aware of one’s capacities without permitting them to become a barrier. During this year, I have been working mostly on improving my rhythmical and structural capacities.

There are great composers like Chopin, whose music speaks with rea-sonable directness. Debussy’s, quite deliberately, does not. Long, launch, melodies come as easily for Debussy as they did to Chopin,” Lederer points out, “but Debussy’s work follows different logical and emotional trajectories. It moves in unexpected ways and below the mysterious

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beauty of Debussy’s musical services, look sedative and dangerous and bottomless depths. (Lederer, 2007)

Firstly, rework and strengthen the interaction between theory and practice in the process of my musical performance at the instrument further. Secondly, using the multi-methodological approach presented in this thesis, focus on how to apply it to my practice in front of the instru-ment. Lastly, focus on the positive feedback and try to see constructive aspects from the more critical comments.

6.2 Website structure

Due to the high number of images and non-verbal elements to insert in this thesis, I created the website chopin-vs-debussy. The primary idea of the website was to create platform, to up-load images and texts that could not fit in this main document of the thesis. It consists of fol-lowing pages: Idea, Theory, Process, Comparison, Editions, G. Biddau’s vision, Musical clock, Author, Sources.

The first page, Idea, is divided into two parts. First, a description of the overall idea of the pro-ject, a presentation of Poster I, each life of both composers is presented and then compared to the other. https://www.chopin-vs-debussy.com

The second page, Theory, is divided into three parts. It begins with a presentation of the poly-rhythms studied, then Poster II, a visualisation of the steps within a rehearsal process called shirt and an own presentation of the 2vs.3 polyrhythm, called Ro-ma, Na-po-li. https://www.chopin-vs-debussy.com/theory-study/

The third page, Process, presents the different steps of the creation of both Posters, I and II. Seven steps for Poster I and eight for poster II are described along with images. The difference between digital and handwriting is shortly discussed. Lastly, a quote of Giulio Biddau about the difference between music studies nowadays compared to when he was studying. https://www.chopin-vs-debussy.com/process/

The fourth page, Comparison, presents the comparison of the two compositions. Links and QR codes to the recordings are inserted and the compositions are compared and discussed through four aspects: historical inspirations (table B4), compositional style (B5), analysis (B6) and conclusions (B7). The main difference between the inspirations for the two compositions that is presented in the first table (B4) is that Clair de Lune was written with a specific poem in mind: Paul Verlaine’s poem Clair de Lune (1869).

The analysis of both compositions is divided following the tempo changes; five in the Fantai-sie-Impromptu and six in Clair de Lune. Lastly, some examples of prefaces and my own

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conclusions about the two compositions. https://www.chopin-vs-debussy.com/compositions-compared/

In the fifth page, Editions, a free score of the Fantaisie-Impromptu is compared to Henle Ver-lag’s. Examples of prices of the different books are given. Three sections from the compositions are taken as examples: bars 1-8, 9-12 and 43. In the last part of the page, positive aspects of Henle Verlag’s editions are described further, to motivate the choice and illustrate how stu-dents can be negatively impacted by non-qualitative scores.

https://www.chopin-vs-debussy.com/editions/

Links to free versions scores of both compositions (Fantaisie-Impromptu & Clair de Lune) can be found in chapter 8.

The sixth page, Biddau’s vision, is a presentation of two interviews done with the Italian pia-nist, Giulio Biddau. First an interview made originally in Italian by the radio station Unica ra-dio which has been translated and summarized. A complete transcription of my own interview made on the 18th of April 2021 through a videocall with the pianist and teacher follows. The questions given at the interview are inserted lastly on the page. https://www.chopin-vs-debussy.com/g-biddaus-vision/

The seventh page, Musical clock, is a short presentation of my own creation named Musical clock. The idea behind it is to provide an alternative presentation of the musical intervals up to an octave, which are twelve as the hours on a traditional clock. The clock was made by hand on cardboard and three stages of the products development are presented. https://www.chopin-vs-debussy.com/music-clock/

In the eighth page, Author, a personal background description of me, as the author, is inserted. https://www.chopin-vs-debussy.com/author/

The ninth and last page, Sources, provides the attachments of the sources used for the creation of the website. https://www.chopin-vs-debussy.com/sources/

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The performative videos are all grouped in the YouTube channel Pianist Sven. https://www.youtube.com/channel/UC_FXqJi9qaWsPa2gdzJVgYw

6.3 Discussion about the theoretical and historical study

My study was based on two composers: Fryderyk Chopin and Claude Debussy. Their lives are presented chronologically on the posters and are divided into three parts. First, it is about their childhoods and studies, then about their careers and compositions. Lastly, about their late years, last concerts, and deaths in Paris. All those are compared between the two composers on the website. I chose one specific composition from my repertoire for each composer: Chopin’s Fantaisie-Impromptu and Debussy’s Clair de Lune. Different methods have shown to be the most efficient for practicing, as deciding a realistic speed (BPM) to play every single bar of the piece. Study only small parts, where the issues arose, one hand at time, helped me to solve the technical issues faster and with more attention to details. While I was used to play the piano freely throughout the long process of learning a new piece, I learned how to study systematically in front of the instrument using varied meth-ods. Following these steps have shown to be useful. To begin with, do a short theoretical and historical analyse of the whole piece to get a general idea about it. This generic process description must be adopted to each specific composition. The idea is to give a generic, idea of some parts of the study process that should not be missed. Having the opportunity to cooperate with new, different musicians I would not have met in Sweden, was an important aspect when deciding of applying to the study exchange program. Doing the study exchange and change surrounding, helped me to find new motivation and study better, developing my skills faster. I suppose that the interaction between piano rehearsal and the theoretical and historical back-ground study was strengthened at the end of this work. My flexibility while rehearsing has in-creased thanks to a better theoretical preparation and strengthened background knowledge.

Having a good guidance from teacher Zywny was essential for Chopin developing his impro-vising and composing skills. I strongly believe that the changes of atmospheres (for Chopin moving to Paris, or for me going to the exchange in Sardinia) can become key factors for a faster development. Atmosphere changes and getting in touch with others of the field during a musician’s schooling, I believe, are important for the development process. I got new inspira-tions while going to Italy and that resulted in a faster learning progress.

Finding new role models, in my case pianists Matteo Fanni Canelles, Helge Kjekshus and Giu-lio Biddau, in Debussy’s case Chopin and others, can be a precondition for development be-tween generations of musicians to happen.

Knowing more about the backgrounds of the composers and compositions, gave me the possi-bility to see it from a different point of view: even the most iconic of composer figures, like

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Chopin or Debussy, were humans and could made mistakes. Therefore, even if the musical notation is strict and some editions of scores are more reliable than other scores, it cannot be followed blindly. For checking the rhythm, a metronome can be used, however, not to learn the rhythmical figure. Regarding the learning of rhythmical figures, I found two main steps. First, as teacher Giulio Biddau pointed out, the mathematical relation between the note figures with its underparts counting structure must be entirely understood, then one must be able to clap the rhythm with hands without counting and, lastly, it should be played inserting the me-lodical/dynamical aspects. 6.4 Discussion about the performative study

An efficient way to find out the effects this study has provided in matters of performance skills, I believe, is by comparison of the actual executions. Referring to the adage “A picture is worth a thousand words”, I would adapt it describing this work’s results as: “A video recorded of the different performances is worth a thousand words.”

As already mentioned in the introduction, it is desirable to combine the theory with the practi-cal laboratory experience of the study in such a way as to transfer what is written on the score in an experiential way in the study. Also, and especially, in the first years of practicing the in-strument. To this end, two-handed elementary polyrhythmic formulations could be proposed as in the following examples:

The important thing, in my opinion, would be to stimulate contemporary composers to create a greater number of polyrhythmic compositions dedicated to beginners that would allow stu-dents to immediately learn the skills necessary for the study and perform of repertoire such as the two famous works analysed in this thesis.

Now, to the sounding results. There are two videos per composition: two from June 2020, be-fore this study began, two from June 2021. The later recordings are presented as results of a process based on the application of the described methods. Through these recordings the reader can listen, compare, draw his/her own conclusions about the sounding results. The QR codes were added for easier accessibility to the linked material. The links to the videos with the sounding results can be found in section 5.2. While listening to the examples, it can be helpful to look at the scores: Fantaisie-Impromptu in section 10.1, Clair de lune in section 10.2. Here are three examples of issues in the older execution, as accents, tempo, and overall fluidity of Fantaisie-Impromptu and of Clair de Lune that were solved in the newer.

1. The scale at 01:10-01:13 was not played evenly in Fantaisie-Impromptu, June 2020. https://youtu.be/1GgBTjegunM?t=68

1. That same scale (at 35:45) was a bit more even in Fantaisie-Impromptu, June 2021.

https://youtu.be/Nk8MAjEewl4?t=2145

2. The bass at 02:05-02:09 was wrong in Fantaisie-Impromptu, June 2020.

https://youtu.be/1GgBTjegunM?t=125

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2. The bass at 37:27-37:29 was corrected in the Fantaisie-Impromptu, June 2021. https://youtu.be/Nk8MAjEewl4?t=1947

3. The melody at 02:55-02:57 after the two repeated notes (e flats) should have had a last

note (d flat), but that was not heard in Fantaisie-Impromptu, June 2020. https://youtu.be/1GgBTjegunM?t=175

3. In Fantaisie-Impromptu, June 2021, at 37:02 the d flat can be heard after the two re-

peated notes (e flats). https://youtu.be/1GgBTjegunM?t=175

An improved rhythmical security gave me less dependency on having to hear the accents dis-tinctly. Generally, during the process, many aspects such as posture, too many wrong notes played, and fundamental rhythmical insecurity have been improved. Less dependency of hav-ing to follow the score gave improved possibilities to hold the faster tempo from the start to the end of the composition. Here are three examples of issues found in the older execution, as accents, tempo, and overall fluidity of Clair de Lune that were solved in the newer.

1. The end of the first phrase (bar 6) at 00:33-00:34 was wrongly played in Clair de Lune, June 2020. https://youtu.be/3ndrAqh0OqU?t=33

1. At 29:31-29:32 in Clair de Lune, June 2021, that end of the first phrase (bar 6) was correctly played. https://youtu.be/Nk8MAjEewl4?t=1771

2. The melody tone Db (bar27) at 2:17 in Clair de Lune, June 2020 is wrong.

https://youtu.be/3ndrAqh0OqU?t=137

2. At 31:04 in Clair de Lune, June 2021 the melody tone Db (bar27) is corrected

https://youtu.be/Nk8MAjEewl4?t=1864

3. The melody tone Eb at 3:38-40 does repeat too many times (bar49-50) in Clair de

Lune, June 2020, does not change to Db and back to Eb (in bar 50). https://youtu.be/3ndrAqh0OqU?t=218

3. At 32:12-14 in Clair de Lune, June 2021 the melody tone does change to Db in bar 49 and back to Eb in bar 50. https://youtu.be/Nk8MAjEewl4?t=1932

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I believe that the following idea sums up what kind of mindset can work best for better learn-ing of pieces.

• being able to quickly find out what the problematic parts of the score are • identify the kind of issue (rhythmical, dynamic, or others) and decide which rehearsal

process is the most appropriate • dividing the scores in smaller parts with a common, logical parameter • gradually increase the tempo following a metronome • finally leave enough time for a purely interpretative (non-rhythmical) study gave posi-

tive results on the performances.

Having prepared my program list on the piano in the hall, having the quality scores all col-lected in advance made it possible to focus on the musical performance during the second of June 2021, at 19:00 in “Stora Salen”, at Studio Acusticum in Piteå, Sweden.

The concert program included:

1. Beethoven’s Moonlight sonata, n.14 00:18 min https://youtu.be/Nk8MAjEewl4?t=18

2. Chopin’s Revolutionary study op.10 n.12 16:08 min

https://youtu.be/Nk8MAjEewl4?t=968

3. Rachmaninov’s Fate op.21 n.1, with bass-baryton Nikolai Papadopoulos Samuelsen

21:15 min https://youtu.be/Nk8MAjEewl4?t=1275

4. Debussy’s Clair de Lune, from Suite bergamasque 28:59 min

https://youtu.be/Nk8MAjEewl4?t=1739

5. Chopin’s Fantaisie-Impromptu op.post.66 34:37 min

https://youtu.be/Nk8MAjEewl4?t=2077

• Recording of the complete final concert, 41 minutes in total.

https://youtu.be/Nk8MAjEewl4

This recording is the final one of this process. It is meant to be comparable to the other ones as the overall repertoire remained unchanged. All the links and QR codes available in chapter 8. Appendices. The reader can easily swich between recordings, listen to them one after the other, draw his/her own conclusions. By being able to hear the differences between the earlier and later performances, the result of the process may be clearer to understand.

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In the last concert performance of Clair de Lune, the direction of the music may have been improved and the melody is easier to distinguish from the accompaniment. In the last concert performance of Fantaisie-Impromptu op.post.66, a major directness in the playing was achieved compared to the previous performances.

Lastly, the decision to make this thesis “three dimensional” (with videos uploaded the Pianist Sven YouTube channel, images of the posters and other on the Chopin-vs-Debussy website and QR codes referring to the respective links) was taken for increasing the readability, reach out to a larger number of readers and bring the theoretical discussion and performative out-comes closer together. What must not be forgotten, is the fact that the recordings (June 2020, January 2021, May 2021 and June 2021) were done in different halls, with different instru-ments and through different recording equipment. During the years I have been performing on stage, the reactions differed, depending on aspects, as: how well prepared I was, if there had been a general repetition, what kind of audience it would be, etc. Those are external aspects are not directly performative but have a certain effect on the final video products. The instru-ments are for us pianists are not possible to choose or change, as for example violinists or flutist can.

6.5 Conclusions and future aspects

In this work different methods of studying piano have been presented and were discussed. Two questions were given.

• “How can I strengthen the interaction between historical contextualization, theory and practice of a composition?”

• “How can I improve my rhythmic ability in my piano playing?” The first question was about strengthening the interaction between theory and practice in the process of my musical performance development at the piano. By grounding the theoretical and music historical studies on examples from the repertoire studied, the interaction between musical theory and practice was strengthened. That had an influence on the performative level, being able to execute the compositions with more attention to details than before. The multi-methodological approach did work well for developing my piano studies, so I am looking forward using the presented, discussed, developed methods further. Those methods were mainly used to fix my rhythmical insecurities and, at the end, being able to execute the polyrhythmic figures in Chopin’s Fantaisie-Impromptu and Debussy’s Clair de Lune with more details, security, correctness, and overall smoothness. This result can be heard in the last recording, compared to the first one. I remember being able to wait a bit longer between the pieces in the last concert and that made it possible to remain calm, with relaxed fingers. As a classical performer, the idea while representing any repertoire, I believe, should be to make it musically interesting and to give a personal interpretation. It was helpful to return to some basic theory and history behind the studied piano pieces and find an alternative way of presenting that. The combination of piano rehearsal and poster crea-tion worked well for me because it was possible to take breaks from the repetitive activities and still being productive. While both activities were repetitive (rehearsing the same parts repeat-edly, writing about the same composition repeatedly), the starting points differed. The re-hearsal of the compositions had the written scores as a starting point, to be analysed. When writing and drawing posters by hand, however, both the disposition and the choices of subject were up to me: freedom with responsibility.

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Chamber music classes attendance and performances during the study exchange helped me to strengthen my rhythmical stability, the interaction with other musicians, the ability to play four-handed piano, to hold a faster tempo for a longer period of rhythmically or tonal wise. My overall understanding of the different ranges on the keyboard react (so-prano/alto/tenor/bass-range), has improved. The soprano and bass have generally fewer tones at the time, compared to the mid voices and, therefore, should be emerging. It is the fifth, weakest, finger of each hand that should make the voice emerge, while the stronger ones (as the thumb) should be playing the accompaniment at a lower volume. With this new structure and methods presented in this thesis in the background, I strongly be-lieve my future piano studies will become more efficient. A strengthened interaction between theory and practice in the process of my musical perfor-mance at the instrument was accomplished. The second question was about improving my rhythmic stability in my piano playing. The rhythmic stability in my piano playing did improve in the two studied pieces once following aspects were cleared up: feeling of the underlying pulse, knowing how to achieve an overall phrasing clarity (that is one aspect where the Henle Verlag’s editions notation helped a lot) and overall consciousness while playing the piece (thanks to the deeper background studies, focused on just the two specific composers and pieces). The increased knowledge about the methods to use have also given me new motivation to continue to develop as a musician through further piano studies. For the next semester, I am planning to push on expanding the piano repertoire and start to set as realistic goals as possible during the year. Lastly, I am glad to have created the website as a base for presenting the musical ideas and make it accessible for others to take part of and possibly develop. Every new idea takes certain more time to be created and to mature, compared to a development of an already well-known one.

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7. Bibliography Britannica (2021) https://www.britannica.com Easy Ear Training Ltd. / Musical U (2021) Polyrhythm for Beginners, table Y https://www.musical-u.com/learn/making-sense-of-polyrhythms/ Fitch, G. (16 July 2014a) Piano Masterclass on Practicing Correctly, Part 1 [Video]. YouTube. https://youtu.be/YLzjqHo_pms Fitch, G. (16 July 2014b) Piano Masterclass on Practicing Correctly, Part 2 [Video]. YouTube. https://youtu.be/spSjUGfJmSI

Heinemann, E.-G., Lesure, F. & Theopold, H.-M. (2009) Urtext; Debussy-Clair de Lune G. Henle Verlag, München

Ivypanda, (26 April 2019) Analysis of Music Pieces in Terms of Rhythm, Melody, and Tex-ture Analytical Essay. https://ivypanda.com/essays/analysis-of-music-pieces-in-terms-of-rhythm-melody-and-tex-ture/ Jameson E. R. (May, 1942) A stylistic analysis of the piano works of Debussy and Ravel https://digital.library.unt.edu/ark:/67531/metadc699677/m2/1/high_res_d/1002604177-Jameson.pdf Kildea, P. F. (2020) Chopin’s Piano In Search of the Instrument that Transformed Music (1st American edition). W.W. Norton & Co Lederer, V. (1 March 2007) Debussy: The Quiet Revolutionary (Unlocking the Masters Series No.13) Musictheoryacademy (2021) https://www.musictheoryacademy.com Peithman, S. (21 February 2015) The Debussy-Chopin Connection, Capital Public Radio; https://www.capradio.org/classical/connections/2015/02/21/connections-022115/ Tim813 (2021) http://tim813.inyan.spb.ru/419589-494702-0f2f9428bb3352de44685e9bcaabab53/wir-upike.aspx

Walker, A. (26 April 2019) Fryderyk Chopin A life and times (1st paperback, reprint edition). Picador. Chapter Childhood and youth in Warsaw, 1910–1924; section III; page 50.

Walker, A. (26 April 2019) Fryderyk Chopin A life and times (1st paperback, reprint edition). Picador.

Westrup, J. A. Abraham, G. Cooper, M. Hughes, A. Wellesz, E. (1975a). The New Oxford History of Music Romanticism 1830-1890, Volume IX (1st edition). Oxford University Press.

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Westrup, J. A. Abraham, G. Cooper, M. Hughes, A. Wellesz, E. (1975b) The New Oxford History of Music The modern age 1890-1960, Volume X (1st edition). Oxford University Press.

Woori, K. (2014) A comparative study of the etude genre in Chopin and Debussy: Technical Application and Pedagogical Approach. University of Cincinnati.

Zimmermann, E. & Theopold, H.-M. (2016). Urtext; Chopin-Fantaisie-Impromptu c#-mi-nor op.post.66. G. Henle Verlag, München

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8. Appendices

Description of my interview in English with Giulio Biddau: https://chopin-vs-de-bussy.com/g-biddaus-vision/.

The radio station that interviewed Giulio Biddau in Italian was Unicaradio: https://www.unicaradio.it

The chamber music examination video was not published for privacy reasons.

Recordings made at the beginning of the process described in this thesis.

Fantaisie-Impromptu, June 2020 https://youtu.be/1GgBTjegunM

Clair de Lune, June 2020 https://youtu.be/3ndrAqh0OqU

A recording made in the middle of the process, at the end of the Erasmus+ exchange in Italy.

End of exchange, February 2021 https://www.youtube.com/watch?v=GpI9MMd8_kQ

Following two recordings were made after the study process described in this thesis was over.

Fantaisie-Impromptu, May 2021 https://youtu.be/RxK1vwDsP38

Clair de Lune, May 2021 https://youtu.be/c1lQ8kVxDW8

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The last recording was made on the 2nd of June 2021, at the end of my bachelor program, ex-amination, and concert in Piteå, Sweden, with a guest singer. It is a longer, more complete concert program that includes the two pieces studied in this thesis and its performative results:

The last recording, from the final concert. Performative results, June 2021 https://youtu.be/Nk8MAjEewl4

Public domain versions of the sheet music of the two compositions (Fantaisie-Impromptu & Clair de Lune) can be found in the last chapter, 10. Music scores.

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9. Table of figures

Figures from the process with Further descriptions are available in the following links, Qr codes.

Theory poster. https://www.chopin-vs-debussy.com/theory-study/

Poster creation process. https://chopin-vs-debussy.com/process/

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10. Music scores 10.1 Chopin’s Fantaisie-Impromptu (Public domain)……………………….…41 10.2 Debussy’s Clair de Lune (Public domain)………………………….……...52

41

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Typeset using www.LilyPond.org by Guy D. Lederfein. Reference: Mutopia-2009/09/05-1693

Sheet music from www.MutopiaProject.org • Free to download, with the freedom to distribute, modify and perform.

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!Sheet music from www.MutopiaProject .org • Free to download, with the freedom to distribute, modify and perform.

Typeset using www.LilyPond.org by Keith OHara. Reference: Mutopia-2010/12/21-1778

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